Art 326 Experimental Animation Instructor: Amy Hicks MW 3:35 pm – 6:30 pm Contact: [email protected] / Office: Taylor Room 013 Taylor Hall Room 022 & 016 Office Hours: MW 11:00 am - 12:00 pm and/or by appointment
FI R ST T HI N GS FIRST : T HE S AF E T Y O F O UR LE AR NI N G E NVIRONMENT Student learning can only occur when students and their instructors feel safe, respected, and supported by each other. On the first in-person class session of the semester you will select your seat. This will become your assigned seat for the entire semester. To ensure that our learning environment is as safe as possible, and in keeping with CDC guidelines to slow the transmission of COVID-19, our in-person class sessions will adhere to the practice of physical distancing. This means that you:
• Should avoid congregating in groups outside of the classroom before and after class • Return to your assigned seat for the entirety of the semester • Upon entering the classroom, wipe down your seat and desk area • May not move your chairs/desks from their designated positions at any time • Must remain at least 6 feet apart from your classmates, Teaching Assistants, and instructors at all times • Must wear a cloth mask that covers your nose and mouth
As necessary, the University may announce modifications to these practices. In that event, these guidelines will be updated to reflect those modifications. If you do not feel that you can maintain these practices over the course of the semester, you are encouraged to consider online-only courses.
CO UR SE STR UCT URE T O COMPLY WITH UNI VE RSI TY COVID G UIDELINES This in person course will use two primary classrooms during our designated meeting times: Taylor Lab 022 and Taylor Room 016. You will be assigned a work station in one of these spaces that you will use for the entire semester. Each week I will split my time between rooms.
At the start of class, announcements and presentations will be made with Zoom turned on. Each Tues / Thurs students in the alternate room will be asked to join the class via Zoom.
Access to the lab is restricted by capacity limitations. No more than 12 people allowed in Taylor 022 at a time and no more than 7 people allowed in room 016.
The Canvas Course site will have links to videos and tutorials for each project. It is expected that you watch these prior to class. Much of your filming and shot planning will occur outside of class time. In person class time is precious; we will use this for problem solving, group discussions, critique, editing and presentations.
We may also meet outside and/or use the lighting studio for specific projects. These times will be announced in advance.
C O U R S E D ESCRIPTION
If animation was once understood as an adjunct of film and a backwater in cinema, it now finds itself as the core condition of film-making per se. … Lev Manovich concludes it is ‘live action material + painting + image-processing + compositing + 2D computer animation + 3D computer animation,’ adding that ‘…cinema can no longer be clearly distinguished from animation.’ —Paul Wells from “Re‐Imagining Animation: The Changing Face of the Moving Image”
This studio class explores experimental techniques in animation while addressing fundamental problems such as rhythm, timing, and sound. Emphasis is on conceptual idea and development, abstract and material processes, and locating narrative flow in technique. Students will research, discuss, and interpret the cultural and historical fascination with animating the inanimate through screenings, lectures, and readings. We will gain proficiency with digital cameras and audio recorders while working through a variety of techniques and formats that may include stop motion, hand drawn, rotoscoping, collage, pixilation and 3D animation. The final project output is in digital format. -1- Art 326 Experimental Animation Instructor: Amy Hicks
The course's framework is centered on the idea of multiple iterations—designing and creating experimental animations frequently and with variety—as opposed to focusing on a single finished piece. I recommend that you make something you can ONLY do with animation; don’t purely reiterate life, comment on it as well. Make this class an investigation of your inclination to animate. Make the impossible.
Intensive technical instruction is provided alongside a dynamic exploration of historical and contemporary techniques, aesthetics, and conceptual issues, within a supportive critical environment focused on the development of the student's own work. Please feel free to take an experimental approach to the projects, as our goal is to expand on the discourse of animation.
S T U D E N T L E A R N I N G O UTCOMES Students will learn to: • Individually and collaboratively create time‐based work that engages audiences. • Use storyboards to efficiently plan the structure of time-based projects. • Effectively compose using camera angle, exposure, lighting, rhythm, color, and sound. • Prepare oral and/or written analyses of animation history and its relationship to student work, machine culture, game industry, and mechanical wonders. • Conduct research to develop original ideas for animations. • Critically shoot and edit animations independently using digital cameras, frame grabbing software, and non-linear editing software. • Interpret key concepts, techniques, and vocabulary at an advanced level to discuss readings and critique student work orally and/or in writing. • Experiment and take risks with digital and/or analog media to investigate the relationship between maker and media culture.
P ROJECTS There are four exercises and three projects. Assignments are due at the start of class uploaded to Vimeo and Canvas. Post reflections on Canvas. Reflections are required for each project and are part of your grade. Save everything as you are required to turn in all of your completed work as compressed data files (USB key) and on-line (Vimeo). Projects will be peer-critiqued in class. Be prepared to discuss your work and ideas.
S T U D E N T R ESPONSIBILITIES & A TTENDANCE The whole point of this class is to learn from DOING, watching, listening, and discussing. You will learn from each other perhaps as much as you will learn from the artists’ work presented, readings, discussions, lectures, and demos. All of these require PRESENCE in the classroom. Therefore, attendance is mandatory. One unexcused absence for the course will be permitted without impacting your grade, unless it is a day when projects are due. For every other absence, your grade will be impacted by seven points (1/3 letter grade). Being more than 10 minutes late for class three times will equal one unexcused absence.
H O M E W O R K E XPECTATIONS While it is often difficult to quantify the time needed to successfully complete an artistic project, you are expected to work on studio assignments outside of class at least the same number of hours the class meets per week. For this course, you are expected to work at least an additional six or more hours outside of class.
L ATE - W O R K P OLICY In general I do not accept late assignments. I will only accept assignments late if you have an excused absence from class or in an emergency situation, which you have spoken with me directly. If an assignment is turned in late, it will be given only partial credit.
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L A B A N D E Q U I P M E N T U S E P OLICIES This semester Nate Sherman’s office hours are: Wed - Fri from 8:30 am - 4:30pm. Additional hours for lab techs will be posted. Reservations for equipment MUST be made in advance.
Equipment demonstrations and technical practice will take place in the digital project space. We may also visit and use equipment and facilities at the SMDC (basement of Morris Library). Although technical demos will be taught in class, self-guided Adobe Premiere and AfterEffects tutorials are available for further study. Software available in the Lab includes: Adobe CC (Photoshop, Illustrator, Premiere, After Effects) and DragonFrame among others.
Lab hours for Taylor 22 are posted on the door. In order to use either lab and/or any production equipment (cameras, mics, tripods, lights, etc.) you will have to abide by the Art Department’s Equipment Loan policies and regulations. You are fully responsible for loss or intentional damage of equipment. Equipment will be available for use for two to three days at a time from the equipment cage in the basement of Taylor Hall.
The SMDC (basement of Morris Library) also provides cameras, tripods, lights, editing suites, etc. However, equipment is available on a first come, first serve basis! Plan your time accordingly. Policies are posted on your Sakai course site and also available from the equipment cage.
C ONSUMABLES This class has a required consumable student fee of $15.00. This fee must be paid by the drop/add date of Friday, February 26th. If you do not pay this fee you must drop the class by drop/add date. Please go to the website, https://commerce.cashnet.com/UDELART and select the course(s) you need to pay a fee for, add to shopping cart and/or proceed to checkout. At this time only checks are being accepted as a payment method. You will need to have your Bank account number, account, account type (i.e., checking, savings) and the Routing Transit number for your bank. You will be emailed a receipt. Please print the receipt and turn it in to your Instructor.
T UTORIALS Tutorials are optional (but highly recommended!). For more information on accessing the tutorials go to: http://www.lynda.com/; Adobe Video Training: http://tv.adobe.com/; Vimeo Help Center & School: https://vimeo.com/help and No Film School: http://nofilmschool.com/.
P R O C E S S B OOKS Purchase a sketchbook or process book. This book is to be used for recording your working process, in the form of drawings, photos, writing, storyboards, and collage. I recommend the book not be smaller than 8.5x11” or 9x12”.
R E Q U I R E D S T O R A G E M EDIA Back-up your work continuously. Lab computers are not a safe place to leave your work, as they may be periodically cleaned out or accidentally deleted/modified by other computer lab users. Therefore, it is required that projects are stored on removable hard-drives and also on-line. Losing your files because you have not backed them up is not an acceptable excuse for tardy assignments.
You are required to purchase your own external hard drives for use in storing and editing your footage, which, depending on how much storage space you want, will cost you a minimum of $125. I suggest you purchase LaCie drives, as they are sturdy, reliable drives. Specs required: minimum 1 TB, Thunderbolt and/or USB 3 (match your computer interface), and 130MB/s rotational speed (SSD will be faster but pricier).
Recommended External Drive: 1 TB LaCie Rugged Thunderbolt USB-C, https://www.lacie.com/products/rugged/
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S U G G E S T E D T E X T S A N D R EADINGS Edison’s Eve: A Magical History of the Quest for Mechanical Life by Gaby Wood (Anchor, July 2003) Comics & Sequential Art (expanded edition) by Will Eisner (W. W. Norton & Company, Aug 2008) New Media 1740‐1915 edited by Lisa Gitelman and Geoffrey B. Pingree (The MIT Press, Oct 2004) The New Media Reader, edited by Noah Wardrip-Fruin and Nick Montfort Animations edited by Klaus Biesenbach and Carolyn Christov-Bakargiev (P.S.1 Contemporary Art Center 2003) Re‐Imagining Animation by Paul Wells & Johnny Hardstaff (AVA Publishing Oct 2008) The Animation Book: a complete guide to animated filmmaking by Kit Laybourne (Three Rivers Press 1998) The Animator’s Survival Kit: A Manual of Methods… by Richard Williams (Faber & Faber; 2nd Edition 2009) Timing for Animation 2nd Edition by Harold Whitaker and John Halas (Focal Press; 2 edition Sept 2009) Creating 3-D Animation: Aardman Book of Filmmaking by Peter Lord & Brian Sibley (Harry N. Abrams; Oct 1998) Producing Animation, Winder and Dowlatabadi, Focal Press 2001 Clay Animation: American highlights 1908 to the present, Michael Frierson, Twayne 1994
G RADING Grades are based on student’s full participation in critiques, discussions of readings, attendance, and class exercises as well as his/her individual progress and commitment to projects. Projects are evaluated with consideration of concept and development, technical execution, and presentation of work. Experimentation is encouraged. Projects Percent of Grade Exercises 1 – 3 & Pixilation Experiment 20% (5% each) Projects 1 and 2 20% (10% each) Final Project (5% proposal, 10% rough-cut, 10% completion) 25% Writing (artist research & BMFF) / Participation 35%
The following descriptions detail the criteria for earning grades. To receive a grade of C- or better on any assignment, it must be turned in on time unless a PRIOR arrangement has been made or there is an emergency situation.
A C D Outstanding Achievement Acceptable Achievement Marginal Achievement Significantly Exceeds Standards Meets Standards Below Standards Innovative & Creative Thinking F B C- Failing Commendable Achievement Substandard No credit received. Exceeds Standards You still receive elective credit.
GRADING SCALE Students will be assigned a letter grade, based on the calculation coming from the course assessment.
Grade Interval Grade Interval Grade Interval
A 94 and over B- 80 to 83 D+ 67 to 69
A- 90 to 93 C+ 77 to 79 D 64 to 66
B+ 87 to 89 C 74 to 76 D- 60 to 63
B 84 to 86 C- 70 to 73 F 59 and below
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A note on F – F Represents failure and signifies that the work was either (1) completed but at a level of achievement that is not worthy of credit or (2) was not completed and there was no agreement between the instructor and the student that the student would be awarded an “I”. Keep in mind that a student can turn in work, attend class and still fail the course if the work is not worthy of credit according to the clearly stated criteria for passing work. “F” is for “failed to get help.” Anyone willing to make a sincere effort can pass this class. There are many resources available for assistance. The first step is to let me know that you need help. The second is to follow through on doing the work.
The F carries 0 (ZERO) grade points and the credits for the course do not count toward any academic degree program. The credit hours for the course shall count in the grade point average.
Incomplete (I) - Assigned at the discretion of the instructor when, due to extraordinary circumstances, e.g., hospitalization, the student was prevented from completing the work of the course on time. Student must have been passing the course before the emergency incident. Requires a written agreement between the instructor and student specifying the time and manner in which the student will complete the course requirements.
Note: The requirements and objectives are clearly stated on canvas. This is the criteria you will be graded on. If you are not clear about the criteria or what you will be graded on, please ask. I encourage you to discuss your grades with me at any time.
DEPARTMENT EXPECTATIONS
Statement on Attending Visiting Speakers and Gallery Exhibits: Art Majors are expected to attend all Visiting Artist Lectures in the Department of Art & Design during the semester. In addition, students are expected to see all the art exhibitions in the department’s galleries. As a part of this course, you are asked to bring a sketchbook and take notes. Engaging in dialogue with our guests by asking questions is highly recommended.
Field Trips: Academic field trips are an important—and enjoyable—element of education. They often significantly enhance the content of a course by providing a type of information hard to convey in the classroom. Site visits to museums, galleries, contemporary art centers, design studios, and advertising agencies help to contextualize and enhance understandings of contemporary and historical practice. Students are strongly encouraged to attend.
UNIVERSITY EXPECTATIONS
Harassment and Discrimination: The University of Delaware works to promote an academic and work environment that is free from all forms of discrimination, including harassment. As a member of the community, your rights, resource and responsibilities are reflected in the non-discrimination and sexual misconduct policies. Please familiarize yourself with these policies at www.udel.edu/oei . You can report any concerns to the University’s Office of Equity & Inclusion, at 305 Hullihen Hall, (302) 831-8063 or you can report anonymously through UD Police (302) 831-2222 or the EthicsPoint Compliance Hotline at www1.udel.edu/compliance. You can also report any violation of UD policy on harassment, discrimination, or abuse of any person at this site: sites.udel.edu/sexualmisconduct/how-to-report/
Faculty Statement on Disclosures of Instances of Sexual Misconduct: If, at any time during this course, I happen to be made aware that a student may have been the victim of sexual misconduct (including sexual harassment, sexual violence, domestic/dating violence, or stalking), I am obligated to inform the university’s Title IX Coordinator. The university needs to know information about such incidents in order to offer resources to victims and to ensure a safe campus environment for everyone. The Title IX Coordinator will decide if the incident should be examined further. If such a situation is disclosed to me in class, in a paper assignment, or in office hours, I promise to protect your privacy--I will not disclose the incident to anyone but the Title IX Coordinator. For more information on Sexual Misconduct policies, where to get help, and how to report information, please refer to https://sites.udel.edu/sexualmisconduct/. At UD, we provide 24-hour crisis assistance and victim advocacy and
-5- Art 285 Core Moving Images Instructor: Amy Hicks counseling. Contact 302-831-1001, UD Helpline 24/7/365, to get in touch with a sexual offense support advocate. For information on various places you can turn for help, more information on Sexual Misconduct policies, where to get help, and reporting information please refer to www.udel.edu/sexualmisconduct
Accommodations for Students with Disabilities: Any student who thinks he/she may need an accommodation based on a disability should contact the Office of Disability Support Services (DSS) office as soon as possible. Students who have documentation of their need for accommodation should register via the SAM platform: andes.accessiblelearning.com/UDEL/. Reach DSS in the following ways: Visit at 240 Academy Street, Alison Hall Suite 130, Phone: 302-831-4643, fax: 302-831-3261, DSS website. Email: [email protected]
Academic Integrity: Students at the University of Delaware are expected to be honest and forthright in their academic endeavors. It is the official policy of UD that all acts or attempted acts of alleged academic dishonesty be reported to the Office of Student Conduct for disposition within the University Undergraduate Student Conduct System. Any violation of this standard must be reported to the Office of Student Conduct.
Inclusion of Diverse Learning Needs: Any student who thinks they may need an accommodation based on a disability should contact the Office of Disability Support Services (DSS) office as soon as possible. The DSS office is located at 240 Academy Street, Alison Hall Suite 130, Phone: 302-831-4643, fax: 302-831-3261, DSS Website (http://www.udel.edu/DSS/). You may contact DSS at [email protected]
Non-Discrimination: The University of Delaware does not discriminate against any person on the basis of race, color, national origin, sex, gender identity or expression, sexual orientation, genetic information, marital status, disability, religion, age, veteran status or any other characteristic protected by applicable law in its employment, educational programs and activities, admissions policies, and scholarship and loan programs as required by Title IX of the Educational Amendments of 1972, the Americans with Disabilities Act of 1990, Section 504 of the Rehabilitation Act of 1973, Title VII of the Civil Rights Act of 1964, and other applicable statutes and university policies. The University of Delaware also prohibits unlawful harassment including sexual harassment and sexual violence. For inquiries or complaints related to non-discrimination policies, please contact: Interim Director, Institutional Equity & Title IX Coordinator - Fatimah Stone [email protected], 305 Hullihen Hall Newark, DE 19716 (302) 831-8063
For complaints related to Section 504 of the Rehabilitation Act of 1973 and/or the Americans with Disabilities Act, please contact: Elizabeth Reed, Interim Director Office of Disability Support Services and University ADA Compliance Coordinator - [email protected], Alison Hall, Suite 130, Newark, DE 19716 (302) 831-4643 OR contact the U.S. Department of Education - Office for Civil Rights.
-6- Art 326 Experimental Animation Instructor: Amy Hicks MW 3:35 pm – 6:30 pm Contact: [email protected] / Office: Taylor Room 013 Taylor Hall Room 022 & 016 Office Hours: MW 11:00 am - 12:00 pm and/or by appointment
C O U R S E S C H E D U L E S P R I N G 2021 – SUBJECT TO CHANGE
WEEK 1 / Mon Feb 15 & Wed Feb 17 Homework: ZOOM: https://udel.zoom.us/my/amyhicks 1. Open a Vimeo account, join 285 group Introduction to course and each other. Overview of 2. Check your DragonFrame compatibility required materials. Experimental and Expanded Animation (vs Traditional). 3. Watch: The Illusion of Life (3 minutes)
4. Read: Twelve Basic Principles of Facility and equipment procedures. Experience with Animation (Wikipedia) Premiere, Audio Recording, Cameras, Tri-pods, long USB cables, etc. 5. Shoot Exercise 1: Animated Loop (10 seconds) How many frames if shooting @ DragonFrame camera support and tutorials 15fps (or “twosies”)? https://www.dragonframe.com/camera- support/ and https://www.dragonframe.com/tutorials/
WEEK 2 / Mon Feb 22 & Wed Feb 24 Homework:
Collaborations, workflow, and organization. Lighting for 1. Research artists from list. animation and silhouette. 2. Watch assigned artists: Oskar
Fischinger, Caroline Leaf, William Introduce Exercise 2: Mutable Morph (Soft Medium) Kentridge, etc workshop. Additive / subtractive.
Prep for 200-frame animation with mixed media charcoal, **Bring Your Digital Single Lens Reflex chalk, paint, or rice Cameras, cables, tripod (if you have one)
and materials for the shoot. In-class work on Exercise 2.
WEEK 3 / Mon Mar 1 & Wed Mar 3 Homework:
Exercise 3: Multi‐layer with Rigid Medium workshop. 1. Research artists from list.
2. Watch assigned artists: Lotte Reiniger, Lighting and Horizontal/Vertical Orientation. Background Nicolas Brault, Brent Green, Kelly Sears, / foreground. Prep for 300‐frame animation with mixed Martha Colburn, etc media paper collage or torn-paper silhouette.
In-class work on Exercise 3. **Bring Your Digital Single Lens Reflex
Cameras, cables, tripod and materials for the shoot.
WEEK 4 / Mon Mar 8 & Wed Mar 10 Homework:
Audio Workshop. Add sound to your exercises. 1. Research artists from list.
2. Watch assigned artists: Virgil Widdrich, Introduce Project 1: Animated Collage Eric Dyer, Jan Svankmajer, Norman McLaren, EatPes, Allison Schulnik, etc
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Art 326 Experimental Animation Instructor: Amy Hicks
WEEK 5 / Mon Mar 15 & Wed Mar 17 Homework:
CRIT: Audio versions of Exercises 2 and 3. 1. Research artists from list.
2. Watch assigned artists: Anthony Lucas, Lab: Work on Animated Collage in-class. Kelly Gallagher, Norman McLaren, Jan Svankmajer, etc 3. Bring materials for collage
WEEK 6 / Mon Mar 22 & Wed Mar 24 Homework:
Lab: Work on Animated Collage in-class. 1. Rotoscoping tutorials—do them.
2. Shoot over the weekend. CRIT Project 1: Animated Collage
Introduce Project 2: Rotoscoping and Layers
Discuss camera movement, image size, tracking, and rack focus as transition.
WEEK 7 / Mon Mar 29 & Wed Mar 31 Homework:
Lab: Work on Rotoscoping and Layers in-class. 1. Watch films prior to 4/6 screening of Black Maria Film Festival at Colloquium Discuss Pixilation and lighting. In-class workshop.
Outdoors if weather permits. Note: Tues, 3/30 = No Classes for Re-Coop Day
WEEK 8 / Mon Apr 5 & Wed Apr 7 Homework:
Discuss Pixilation and lighting. In-class workshop. 1. Attend Tues April 6 screening of Black Outdoors if weather permits. (Rain date) Maria Film Festival at Colloquium
2. Written Response on BMFF and artists CRIT Project 2: Rotoscoping and Layers Due
Introduce Final Project 3. Write Proposal for final project.
WEEK 9 / Mon Apr 12 & Wed Apr 14 Homework:
Lab: Edit Pixilation Project. Review and Discuss. 1. Final Project proposals Due on Canvas by midnight Sunday April 11. Individual Meetings (schedule TBD)
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Art 326 Experimental Animation Instructor: Amy Hicks
WEEK 10 / Mon Apr 19 & Wed Apr 21 Homework:
Mon, 4/19 = No classes for Re-Coop Day 1. Shoot / prep for final project
Individual Meetings (schedule TBD)
WEEK 11 / Mon Apr 26 & Wed Apr 28 Homework:
Trouble-shoot projects: Further ideation for final 1. Shoot / prep for final project projects. Writing, storyboarding, and sketching. Bring
notebooks to class.
LAB: Edit Final Project.
WEEK 12 / Mon May 3 & Wed May 5 Homework:
Rough-Cut Group 1 1. Attend Friday May 7 Receptions: MFA Thesis & FA-BFA Lynn Sharp Award LAB: Edit Final Project. Show at The Delaware Contemporary, Wilmington from 5-9PM
WEEK 13 / Mon May 10 & Wed May 12 Homework:
1. Premiere Tutorials: Effects and filters, Rough-Cut Group 2 Color correction, audio mixing & titles.
2. Tues, May 11: Fine Art & Visual LAB: Edit Final Project. Communications-BFA Exhibitions
3. Recitation & Taylor Hall Gallery Receptions, 6:30 - 8:00 PM
WEEK 14 / Mon May 17 / Final Class
All projects DUE on USB drive and posted on- Final Critique: Project 3 Final Project. line—Canvas and Vimeo.
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